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White Vengeance

Hong men yan chuan qi.

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White Vengeance (2011)

Directed by daniel lee.

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Description by Wikipedia

White Vengeance, also known as Hong Men Yan, is a 2011 Chinese historical film directed by Daniel Lee, starring Leon Lai, Feng Shaofeng, Liu Yifei, Zhang Hanyu, Anthony Wong, Jordan Chan, Andy On, Xiu Qing and Jia Qing. The film is loosely based on events in the Chu–Han Contention, an interregnum between the fall of the Qin dynasty and the founding of the Han dynasty in Chinese history. The film's Chinese title is a reference to the Feast at Hong Gate, one of the highlights of that era.

Alternate Titles

“Vengeance” sounds like the title of an action thriller. There have been films with that name before. But although vengeance is discussed in “Vengeance”—the first feature from writer/director/star B.J. Novak, co-star and co-writer of the American version of “The Office”—it has a lot more on its mind. Too much, probably. 

The story begins in earnest when New Yorker writer and aspiring public intellectual Ben Manalowitz (Novak) gets a call at his Manhattan apartment late one night from Ty Shaw ( Boyd Holbrook ), who lives in one of the flattest backwaters in West Texas, a small town five hours’ drive from Abilene, which is two hours and forty minutes from Dallas. Ty is calling to tell Ben that his sister, Ben’s girlfriend—who is oddly also named Abilene, Abby for short—has died. 

Ben doesn’t have a girlfriend named Abby. He’s a player who hooks up with many women. But a quick check of his phone confirms that he did indeed have sex with an aspiring singer named Abby ( Lio Tipton ) a few times and then forgot about her. Somehow he ends up letting himself be talked into traveling to Abby’s hometown, attending her funeral, and commiserating with her grieving family, which also includes her younger sisters Paris ( Isabella Amara ) and Kansas City ( Dove Cameron ), her kid brother El Stupido (Elli Abrams Beckel), and her mother Sharon (J. Smith-Cameron). Then Ty tells Ben that Abby was murdered, probably by a Mexican drug dealer named Sancholo ( Zach Villa ), and asks if he’ll help the family seek, well, you know.

Ben is a narcissist who seems to view every relationship and experience as a way of raising his status as a writer and quasi-celebrity, so it seems unbelievable at first that he’d travel to Texas to attend the funeral of a woman he didn’t really know. But the notion begins to seem more plausible once he starts talking to the family and slotting them into his prefabricated East Coast media-industrial-complex notions of “red state” and “blue state” people, and spinning his theories about temporal dislocation. Modern technology, he says, allows every person to exist in every moment except the present if they so choose. The desire for vengeance, we are told, is exclusively a backward-looking urge.

Intrigued by the possibility of writing the equivalent of a great American novel in the form of a podcast (he even name-checks Truman Capote’s In Cold Blood ) Ben decides to stick around to gather material for an audio series, which will be created under the supervision of his friend Eloise, a New York-based podcast editor for a National Public Radio-like organization. (As Eloise, Issa Rae works wonders with a thinly written role.)

If Ben’s creative vision sounds like the kind of navel-gazing blather that you’d hear on a true crime podcast in which an actual person’s murder becomes a springboard for brunchy rumination on law and truth and the nature of yadda yadda  by a group of Ivy League college graduates based in Brooklyn, well, Ben is aware that he’s sliding towards that cliché—and so is Eloise, who early on makes a joke to the effect that Ben is the only white man in America without a podcast. And yet, true to media form, they embrace the templates, tropes, and clichés anyway. 

Unfortunately, so does the movie. Like “The Daily Show” and its many imitators—and like Jon Stewart’s recent film “ Irresistible “—this is a movie that chastises its protagonist and the “red state” people he engages with for failing to look beyond the clichés they’re fed by their own self-enclosed media loops, while at the same time dining out on them. On one side of the great divide is a nation of “coastal elites” (driven by Harvard-educated Jewish people like Ben) who name-drop cultural tidbits that they learned in college and never revisited; sneer at monogamy, and think everything between the coasts that’s not a Top Ten city is a barbaric wasteland. The inhabitants of said wasteland are people whose favorite restaurant is Whataburger and have several guns in the house for every person (including the kids) and use them to settle their differences rather than calling 911. 

Intriguingly, though, even as “Vengeance” checks box after box on the op-ed chart of American shorthand, it also presents a number of characters with idiosyncrasies and layers that we’ve never seen in a movie before. Ben himself is quite a piece of work, and it’s to Novak’s credit that we eventually dig past Ben’s buzzwords and NPR-ready voice and see the character’s self-loathing (and, it would appear, the filmmaker’s) at realizing that he’s a prisoner of the same limited thinking he decries. (Ben often plays more like the protagonist of a French comedy than an American one—or like the characters played by Canadian satirist Ken Finkleman in “The Newsroom” and “More Tears.”) There’s little discussion of racial grievance as a motivation for politics in the film, and nobody mentions Trump, Greg Abbott, or the transformation of Texas into an authoritarian nation-state. The movie takes the audience into a minefield but tactfully declines to point out most of the mines. But these threats lurk under the surface, and they do occasionally explode—particularly when the drug epidemic that’s decimating white middle-America comes to the forefront of the story.

The supporting cast boasts a number of characters who seem one-note during their introductions but quickly assert their spiky individualism. Smith-Cameron seems underutilized at first, but becomes the emotional anchor of Ben’s story, and her final scene is powerful. There are several terrific scenes involving Abby’s onetime record producer Quinten Sellers, kind of a Phil Spector of West Texas who lives and works in a combination home, studio, and cult compound, and regales his talent and hangers-on with monologues about time, space, individuality, art, drugs, and hedonism that Marlon Brando or Dennis Hopper might have delivered in a 1970s American art film. Sellers is played by  Ashton Kutcher in what might be a career-best performance. With his polite but eerie intensity, ten-gallon white cowboy hat, and lanky frame, it’s as if Sam Shepard had come back to play Col. Walter Kurtz.

Novak is a thoughtful writer with a lot of things to say about the United States of America in the year 2022. The problem is that he seems determined to say all of them in one feature film. The result is a jumbled, fitfully amusing, occasionally fascinating effort, but one that shows promise even when it’s stumbling over its ambition and falling prey to some of the same stereotypes about “red” and “blue” (or reactionary and progressive) America that it keeps intimating that Americans need to get beyond. The first 15 minutes are borderline awful, but the movie gets better and more surprising as it goes, and the final act is impressive in its determination not to give the audience what it wants. Novak is famous enough that he could’ve cobbled together an onanistic two hours of nothing and still gotten into South by Southwest with it, but he decided to try to make a real movie. 

Now playing in theaters.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-at-Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

• B.J. Novak as Ben Manalowitz
• Boyd Holbrook as Ty Shaw
• J. Smith-Cameron as
• Lio Tipton as
• Dove Cameron as Kansas City
• Issa Rae as
• Ashton Kutcher as
• Isabella Amara as Paris
• Hilda Rasula
• Plummy Tucker
• Finneas O’Connell

Cinematographer

• Lyn Moncrief

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Fancy watching ' White Vengeance ' in the comfort of your own home? Hunting down a streaming service to buy, rent, download, or watch the Daniel Lee-directed movie via subscription can be tricky, so we here at Moviefone want to take the pressure off. Read on for a listing of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'White Vengeance' on each platform when they are available. Now, before we get into the nitty-gritty of how you can watch 'White Vengeance' right now, here are some particulars about the Starlight International Media drama flick. Released , 'White Vengeance' stars Leon Lai , William Feng , Liu Yifei , Zhang Hanyu The movie has a runtime of about 2 hr 15 min, and received a user score of 68 (out of 100) on TMDb, which collated reviews from 49 respected users. What, so now you want to know what the movie's about? Here's the plot: "White Vengeance tells the story of two brothers contending for supremacy during the fall of the Qin Dynasty, which ruled Imperial China from 221 to 206 BC. As rebels rose, the nation fell into chaos. Liu Bang and Xiang Yu, became leaders of the rebellious army, and also became sworn brothers in battle.Xiang Yu and Liu Bang are close friends who both serve King Huai of Chu. King Huai uses a plot, saying that whoever can subvert the Qin kingdom in Guanzhong would be the Lord Qin, in order to benefit from the competition between Xiang Yu and Liu Bang. Xiang Yu is over-confident. He fights against the main force of Qin army, and entrusts Liu Bang with Yu Ji, the woman he loves.Liu Bang expresses his love to Yu Ji and takes the chance to invade Guanzhong first when most of Qin army is outside fighting against Xiang Yu’s army." 'White Vengeance' is currently available to rent, purchase, or stream via subscription on Google Play Movies, Hi-YAH, Plex Channel, Rakuten Viki, Vudu, Apple iTunes, Plex, Hoopla, YouTube, and Tubi TV .

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Out for Vengeance: Ten Essential Revenge Movies

August 26, 2024 by admin

Casey Chong with ten essential revenge movies…

The long-gestating reboot of The Crow , which famously suffered from development hell as early as 2008 with numerous directors and actors coming and going, has finally flown into cinemas, starring Bill Skarsgård as the titular character with Rupert Sanders of the live-action Hollywood version of Ghost in the Shell directing [ read our review here ]. And so, we’re taking a look back at ten essential revenge-themed movies about avenging the death of loved ones. Check them out here, in alphabetical order…

Blue Ruin (2013)

Violence begets violence in Jeremy Saulnier’s second movie, Blue Ruin . It’s a revenge thriller with a dash of dark humor that doesn’t sugarcoat on the violence as the story follows Dwight Evans (Macon Blair in a subtle lead performance), a vagrant who lives in his old beat-up car and scraps whatever edible food he can find in the garbage bags. Then, he learns about a killer freed from prison and everything changes.

Saulnier approaches his movie in a minimalist fashion with no flashbacks to fill us in other than giving us sufficient, need-to-know basis. What we have here is Dwight’s quest to track down the killer who kills his parents two decades earlier. He takes matters into his own hands but his vengeance against the person only triggers a series of consequences, resulting in an otherwise typical revenge-thriller territory that subverts the audience’s expectations. In Saulnier’s point of view, revenge isn’t merely a one-man mission that takes courage to kill someone. It can be a double-edged sword that complicate matters when the vengeful protagonist finds himself unexpectedly deal with an aftermath.

Death Wish (1974)

This classic genre film sets the tone about a vigilante (typically a white or blue-collar civilian) ends up taking matters into his or her own hands killing those who deserved to die. Although Death Wish spawned four sequels and a 2018 remake, the 1974 original remains the best in the film series. Charles Bronson plays Paul Kersey, a mild-mannered architect and family man based in New York. But his life changes forever when a trio of muggers (one of which includes then-unknown young Jeff Goldblum’s big-screen debut) assault his family. His wife, Joanna (Hope Lange) is beaten to death while their daughter, Carol (Kathleen Tolan) is brutally raped.

Director Michael Winner envisions New York City as a city of hopelessness and despair with Charles Bronson’s Paul Kersey becoming the judge, jury, and executioner of a vigilante in getting rid of street crime. Bronson’s perfectly stoic personality fits the role of a remorseless vigilante while Winner doesn’t shy away from graphic violence and sex.

I Saw the Devil (2010)

Director Kim Jee-Woon brings the familiar terms of revenge and violence begets violence to the next level in I Saw the Devil . Vengeance for NIS agent Soo-Hyun (Lee Byung-Hun) isn’t a one-time kill because he wants Kyung-Chul (Choi Min-Sik), the serial killer who is responsible for the grisly death of her fiancé (On San-Ha) to suffer. So, he tracks him down and what follows next is a mean-spirited depravity of cat and mouse game.

The movie is not for the squeamish because Kim Jee-Woon pulls no punches when comes to graphic violence, blood, and gore. The game in question revolves around Soo-Hyun’s unorthodox method of catch-and-release the serial killer before torturing him and letting him go again. And vice versa, making him feel the utmost pain imaginable. I Saw the Devil is a pure visceral cinema not only in its depiction of the revenge genre but also a hard-hitting metaphor of one’s inner rage, desperation, and deep sorrow.

John Wick (2014)

The last three John Wick movies are more about the level of insanity and creativity in delivering the intricately choreographed action set pieces. But all these wouldn’t have happened if the seed isn’t firmly planted in the first movie. The one that started it all. Before all the world-building structures that introduce us more characters in the John Wick universe, the first movie tells a simple story about the titular retired assassin (Keanu Reeves) spending his days grieving for the loss of his beloved wife, Helen (Bridget Moynahan). What he has now is a puppy that his wife left for him. But everything turns upside down when an arrogant Russian gangster, Iosef Tarasov (Alfie Allen) leads his men to break into John’s house, kill the puppy and even steal the Mustang. Bad mistake and all hell break loose as John reverts to his old ways on a revenge mission.

What makes John Wick such an iconic genre movie is the propulsive action beats of John’s ability in dispatching his enemy using guns with pinpoint accuracy under any circumstances. He’s quick, agile and above all, he has nothing to lose. Chad Stahelski’s direction is top-notch as he favors lots of practical stunts over CG-heavy set pieces. The elaborate choreography is both stylish and thrillingly staged and at the heart of the movie is Keanu Reeves’ uber-cool lead performance as John Wick.

Kill Bill: Vol. 1 & Vol. 2 (2003, 2004)

It’s a free-flow of blood, rage, and mayhem in Quentin Tarantino’s two-part Kill Bill saga. The story follows The Bride (Uma Thurman), a former member of the Deadly Viper Assassination Squad is left for dead during her wedding rehearsal. Her husband is shot to death and so does her unborn child but she somehow survives. After recuperation, she subsequently tracks down her former colleagues responsible for the massacre.

The first movie pays homage to old-school Shaw Brothers kung fu genre and samurai movie with a notable callback to the late Bruce Lee’s iconic yellow-and-black jumpsuit seen in Game of Death . The latter has Thurman’s The Bride donning the aforementioned jumpsuit as she engages in a blood-soaked swordfight against the Crazy 88 gang, Chiaki Kuriyama’s Gogo Yubari, and Lucy Liu’s O-Ren Ishii – easily one of the greatest action sequences ever seen in the 21st century.

The second movie references heavily from the Western genre, notably the ‘60s era including Django Kill… If You Live, Shoot! (the crawling-out-of-the-grave scene) and Once Upon a Time in the West (the blurred shot of The Bride walking through the desert). There’s a shade of Shaw Brothers kung fu movie, notably on The Bride’s gruelling training session with martial arts master Pai Mei (Gordon Liu). Kill Bill Vol. 2 culminates in a final showdown between The Bride a.k.a. Beatrix Kiddo and the titular Bill played by David Carradine with one of the martial arts moves known as “the five point palm exploding heart technique” inspired by 1977’s Executioners of Shaolin .

The Brave One (2007)

Neil Jordan put a feminist spin on the vigilante classic Death Wish , substituting Charles Bronson’s Paul Kersey with Jodie Foster playing a radio host who ends up taking justice into her own hands in The Brave One . The movie may have trodden familiar ground with been-there, done-that kind of story but Jordan’s assured direction helps elevating it. He made us root for the protagonist’s plight, whose doctor-fiancé (Naveen Andrews) is brutally beaten to death by three street thugs in Central Park. He also successfully captured the aftermath that forever scarred Jodie Foster’s Erica, focusing on her internal fear and paranoia through disorienting camera angles and how she initially has trouble leaving her apartment.

The Brave One also benefits from Jodie Foster’s engaging lead turn as Erica as she convincingly evolves from a scared victim to a reluctant vigilante killing those who deserve to die with a gun that she bought illegally. Credit also goes to Jordan for not resorting her vigilante justice and the act of gun violence to a gratuitous exploitation fantasy. Her character may grow addicted as she is getting used to killing but the movie never goes over the top with just enough subtle restraint in between.

The Crow (1994)

The late Brandon Lee tragically died making this 1994 cult classic. Based on James O’Barr’s graphic novel, Lee plays the rock musician Eric Draven who returns from the dead to avenge the murder of his beloved girlfriend. Dressing in skintight black clothes and a Goth-style, pasty white makeup, he sets out on a revenge mission to kill the responsible thugs played by David Patrick Kelly, Angel David, Laurence Mason, and Michael Massee.

The Crow marks the second directorial feature for Alex Proyas and here, his extensive music video background is put to good use. He incorporates dark and gothic visual palette that looks stylish with Graeme Revell’s ominous score perfectly fits the macabre tone of the movie. At the heart of the movie is Brandon Lee, whose lead performance as the sympathetic and vengeful Eric Draven showcases his dramatic acting prowess apart from his martial arts background.

The Foreigner (2017)

Martin Campbell’s works tend to be erratic but The Foreigner thankfully isn’t one of them. It’s a gritty revenge thriller that showcases a different side of Jackie Chan for a change since the international martial arts superstar is often associated with action comedies. He plays Quan, a father who is devastated with the death of his teenage daughter (Katie Leung) killed in a terrorist bombing. He’s determined to find out the culprit responsible for his daughter’s death, which subsequently leads him to a shady British high-ranking government official played by Pierce Brosnan.

The Foreigner may get too weighty for its own good covering terrorism, conspiracy, and corruption instead of streamlining it as a straightforward revenge thriller. But Campbell still manages to bring out the best in Chan’s no-nonsense performance while his character being a former Special Forces means we get to see him in the action mode. The movie made the right choice not to showcase him in his usual acrobatic stunts as Campbell favors more on brutal hand-to-hand combats. The fight scenes are crisply edited with Campbell’s technical know-how in putting together propulsive action, resulting in one of the better Jackie Chan-starred in years.

The Nightingale (2018)

Jennifer Kent’s follow-up to 2014’s The Babadook sees the writer-director shifted from psychological horror to the grim territory of rape-revenge and brutally honest depiction of racial oppression and colonial violence. The first 30 minutes is a harrowing, matter-of-fact ordeal as we witness the titular married Irish woman, Clare (Aisling Franciosi in a sympathetic lead role) suffers from one assault after another. It all started with Lieutenant Hawkins (Sam Claflin), and the situation gets worse from there when he and his two fellow soldiers, Ruse (Damon Herriman) and Jago (Harry Greenwood) show up in her home one night, gang-raped her and killed her husband (Michael Sheasby) and their baby daughter.

The Nightingale is graphic but never gratuitous. It’s more realistic in its overall portrayal while Clare’s subsequent journey of tracking down the three responsible soldiers with the help of an Aboriginal tracker, Billy (Baykali Ganambarr) is anything but straightforward. Revenge may have fuelled Clare’s anger and determination but like her treacherous journey throughout the movie, things get unpredictable. Kent isn’t interested in streamlining her movie and give us directly what we want the most. Sure, the vile soldiers who turn Clare’s life upside down do get their comeuppance. But, at the same time, the movie also delves deeper into Clare’s psychological trauma and the colonial horror against the Aboriginal Tasmanian community.

Unforgiven (1992)

The Oscar-winning Unforgiven finds actor-director Clint Eastwood, working from David Webb Peoples’ screenplay, deconstructs the Western genre as the story focuses on the morally gray area in the Old West. There’s nothing mythical in this movie as seen in Sergio Leone’s Dollars trilogy as Eastwood depicts the harsh reality of living and surviving in the Old West, complete with matter-of-fact violence and death.

Revenge plays a huge part in Unforgiven not only from the sex workers who band together to exact vengeance against the men responsible for disfiguring one of them by offering a $1,000 bounty, but also William Munny’s (Clint Eastwood) subsequent personal vendetta against the tyrannical “Little Bill” played by Gene Hackman. The latter leads to a bleak and brutal third act with none of the glorification and romanticization of the eventual showdown between William Munny and “Little Bill”.

What are your favourite revenge-themed movies? Let us know on our social channels @FlickeringMyth …

Casey Chong

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White Vengeance

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Product Description

In a time of tyranny and oppression, deception is everywhere. Insurgency swells among the people as two brothers battle for supremacy and the love of a woman during the fall of the Qin Dynasty. Liu Bang (Leon Lai, BODYGUARDS AND ASSASSINS) and Xiang Fu (Feng Shaofeng, XI YOU JI), once united but now locked in combat to rule the insurgent lands in a recreation of history's famed bloody battle for rule and dominion, known as the Feast at Hong Gate. Witness the beginning of the Red Cliff rebellion with this historic clash, directed by Daniel Lee (3 KINGDOMS, BLACK MASK).

An epic story of loyalty, betrayal and the thirst for power --Twitchfilm.com White Vengeance is on par with John Woo s Red Cliff. --japancinema.net Exciting and emotional...a punch in the gut --Twitchfilm.com

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.72 ounces
• Item model number ‏ : ‎ 25507543
• Director ‏ : ‎ Daniel Lee
• Media Format ‏ : ‎ Color, Widescreen, Multiple Formats, NTSC
• Run time ‏ : ‎ 2 hours and 15 minutes
• Release date ‏ : ‎ September 4, 2012
• Actors ‏ : ‎ Shaofeng Feng, Leon Lai, Hanyu Zhang
• Studio ‏ : ‎ Well Go Usa
• ASIN ‏ : ‎ B008FIPRGG
• Number of discs ‏ : ‎ 1
• #15,415 in Action & Adventure DVDs

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